Diane Paulus' Appointment as AD of A.R.T. Causes Stir Amongst Traditionalists

Theatre goers who have attended a Diane Paulus production can attest to the fact that her work relies on audience interaction offering individuals a unique opportunity to become part of the creative process. Paulus, director of the current Broadway revival of 'HAIR', has injected a populist flavor in many of her productions, including the dance party that ensues onstage at the end of 'Hair' or setting up go-go boxes beckoning willing dancers at her production of 'The Donkey Show.' In a story in the New York Times, writer Patrick Healy explores how Paulus' brand of theatre engagement is questioned by many theatre purists and specifically how her recent appointment as Artistic Director of The American Repertory Theatre is causing quite a stir.

As the article says, there are the traditionalists who are completely opposed to Paulus' methods and aren't swayed by box office numbers. "Higher education has a significant role to play in moving a culture forward, and that role shouldn't involve taking cues from box-office sales," said Jedediah Wheeler, the executive director for arts and cultural programming at Montclair State University in New Jersey "If Harvard, for all its wealth, isn't going to invest institutionally in groundbreaking theater, who is?"

However, A.R.T. feels differently, "What Diane is trying to do is the same thing that William Shakespeare was trying to do as a playwright and theater company member," said Donald Ware, chairman of the A.R.T. board of trustees. "She is figuring out how to fill the theater every night - how you get the masses there who will respond to humor and farce, but also producing shows for an educated elite."

Diane Paulus is also a strong believer in that good theatre can involve audience participation and is quoted in the article as saying, "At the core of what I'm doing is a belief in the audience, a belief that populism doesn't mean dumbing down theater but rather giving the audience a voice and a role in experiencing theater."

To read the rest of the story in The New York Times, please click here.